The typography of Vote.org’s recent campaign combines HWT Artz (2014), Erik Spiekermann’s contemporary interpretation of German display types from the 1920s, with Merriweather Bold (2010), an open-source font by Eben Sorkin. The website uses Clear Sans (2013), another open-source font developed by Dan Rhatigan and George Ryan. The nonpartisan, nonprofit organization has used quite a number of fonts in their communication, some of which are shown here.

Student project for Typography class at the Sam Fox School in St Louis, USA. The purpose of this final project was to create a clear typographic system using a strong grid that allowed for typographic variation as defined by a range of editorial content. I interweaved the assigned Beatrice Warde essay, “The Crystal Goblet” with Michael Bierut’s piece “I’m With Her” to show how Warde's essay can be used as an analytical lens to view Bierut’s “H” logo.

This print experience visually gives the reader windows with transparencies and outlined type to highlight the complementing window theme between Bierut’s and Warde’s respective essays.

To accentuate the immediacy of the concerns, the website is kept largely typographic, with black on white type. Boxed all-caps headings in Druk Super (Commercial Type) as well as accents in ultramarine provide hierarchy to the pages. Originally designed for larger type sizes, Halyard Display here is specified for smaller texts, too, including body copy, menus, and contact forms.

The project site America’s Goals follows the same design guidelines. The Report Card subpage additionally features Halyard Text, the subfamily that is fine-tuned for medium text sizes, ensuring better legibility of the dense information presented in the interactive map.

“I Vote Because…” is a U.S.-based, non-partisan campaign to register voters and get out the vote in November 2018.

The concept is simple: photograph individuals and ask them why they vote. The project goal is to encourage anyone feeling left out of the political system to raise their voice and exercise their right to participate in the voting process.

TOKY used Timmons NY throughout the campaign for its urban, chiseled feel, which is condensed yet legible at a large scale. The font is appropriate for communicating a serious issue, but still approachable and confident. It is paired with another condensed typeface: Kapra Neue.

The campaign is promoted through posters, social media, a website, and more. In select cities across the U.S., the campaign will be deployed in bus and rail stations, houses of worship, community centers, and schools.

The Selling of the President 1968 is a non-fiction book written by American author Joe McGinniss and published by Trident Press in October, 1969. The book describes the marketing of Richard Nixon during the 1968 presidential campaign. It has been described as “a classic of political journalism” and a “classic of campaign reporting that first introduced many readers to the stage-managed world of political theater.” [Wikipedia]

“The End of the World (As We Know It)” — German news magazine Der Spiegel captures the current mood. The illustration style builds upon the two “Meltdown” covers designed by Edel Rodriguez for TIME magazine (Creative Director: D.W. Pine).

The fourth season of the political drama television series House of Cards falls into an American election year and leverages the unfolding polictical reality to its advantage by transforming its promotional campaign into a faux presidential campaign. To hype up the supporters, a fake campaign office has been opened in Underwood's home state of South Carolina and a painting of Frank Underwood unveiled at The Smithsonian near real presidential portraits.

The virtual counterpart of the campaign is a Frank Underwood 2016 website, which includes a media kit consisting of social media headers, posters, pins and stickers for download or order. All material is based on Akzidenz Grotesk and DIN Next, including a (presumably fictitious) 404 error page following the “Meet Claire Underwood” link.

The backdrop for the United States Presidential and Vice-Presidential debates featured the Bill of Rights set in Vivaldi, a script typeface that isn’t so much American as it is German or Canadian (designed by Friedrich Peter who was born in Germany and lives in Canada). More to the point, it brings to mind frilly wedding announcements more than it does the country’s founding documents. Perhaps some period-appropriate calligraphy or a Caslon would be more fitting.

Gotham is widely known as the “Obama typeface”, but it was a beefed up and clipped Requiem that accompanied the iconic ‘O’ logo for most of the 2008 campaign.

The logo, credited to Sol Sender of Sender LLC was supplemented with typography by John Slabyk and Scott Thomas. I believe Thomas was the one who selected and modified Requiem for the “Obama ’08” type. Someone correct me if I’m wrong.